Last April, an article appeared in the Seattle weekly The Stranger that caught my eye with the provocative title ‘Could Kickstarter Be Evil?’ The very next day, Steve Lambert, an artist I’ve known for a while, posed a provocative question through facebook: ‘Crowdfunding: how artists help support right-wing tax cuts. Discuss.’ As an arts funder myself I am always interested in new ways of supporting artists, but was feeling some ambivalence about the steep rise in crowdfunding platforms. As an entry into this subject I gathered a few people with experience in crowdfunding together to see what this new strategy looks like from their persepctives. – Holly Unruh, UCIRA

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PART IV

UCIRA: Jeff, you recently had a project funded on Kickstarter. Can you talk a bit about your experiences with the process?

Jeff: My campaign was for a project that I am still working on called Unlogo, and I actually started it twice. It is going to be a community-driven video filtering service that filters logos out of videos. The first time it failed, but right after it ended, it was picked up by BoingBoing and a bunch of people contacted me saying that they wanted to support it, so I relaunched it. I felt weird about this because I thought it kind of betrayed the “all or nothing” spirit of Kickstarter, but I did it anyway.

My experience actually wasn’t ideal, but it was my own fault. As you probably know, on Kickstarter you are encouraged to offer a range or prizes to contributors at different levels — kind of like an NPR pledge drive. I offered prizes like a simple credit on the site, t-shirt, stickers, to a private lesson in computer vision. I had contributors at every level – I think close to 200 in all. So I ended up spending over half of the money on the prizes that I had promised to people. So I didn’t really make enough to fund the project, but it did raise the visibility of the project quite a bit and generally got people talking about it, so that helped me in other tangible ways.

The biggest benefit, I think, was the inspiration that came from tons of strangers getting behind my idea.

UCIRA: You also responded to Steve’s question of a few weeks ago with the observation that Kickstarter (and others) may be introducing the concept of support for the arts to a whole new group of people. Who do you imagine this new group to be and how might their participation in arts funding change things?

Jeff: I’m not sure I have any idea. In my case, I think it was mostly Vimeo and BoingBoing readers, but I don’t know how to generalize that for crowdfunding in general. But in terms of my comments about Steve’s purposefully inflammatory statement (Steve is good at that – like Fox News good), I think I was mostly just conforming to a reputation that I have worked to cultivate with Steve as a pro Internet flame-warrior and arguing against the absurdity of the proposition. To propose that people who contribute their own money to art projects are supporting some right-wing de-funding agenda is like saying that doctors who volunteer in clinics are supporting lack of universal health care. There is no causality there at all, and no proof offered. I don’t think Kickstarter is perfect. I think that it is a great idea, and I know that it has made lots of projects possible that otherwise wouldn’t have been, but in the end, it didn’t really do much for me. It was the statement itself that made me feel the need to defend crowdfunding.

UCIRA: Dan, since UCIRA initially funded your project Who’s Hungry West Hollywood (with Dan Hurlin), you’ve expanded the project to other cities, and have raised a considerable amount of money to support your work. I want to list the funders you credit on your website as introduction to my first question to you (see below). My sense is that individual artists are often in the position of having to raise little sums of money from a great many funders in order to see their work through to completion. Does this list represent the usual scope of fundraising you do in order to see a project happen? How much of your time and creative energy is spent on capital- as opposed to creative development?

Dan: Yes, artists are most often forced to slice the revenue pie into slender pieces. Still, I firmly believe (and I tell my students and anyone who will listen) that there is enough money out there to fund projects. Because I have been building this project over a number of iterations for several years, I have gotten better at articulating it to funders (though apparently not to presenters!). At the same time, the project has been building its own archive, and so appears to be more and more substantial, which seems to attract attention. So, yes, this is the usual scope of grants that I apply for, but the percentage of successful proposals is getting larger and larger. In addition to the reasons I stated above, I also think that I stumbled into a project that touches a lot of funders’ missions at this cultural moment, whose themes include community engagement, interdisciplinarity, food scarcity, and oral narratives. I would say my time is pretty evenly split between ‘capital,’ as you say, and studio practice. But those two things are not, of course, mutually exclusive. I feel strongly that there is intrinsic value in every proposal, as each different one forces you to consider the value of your project from different perspectives. The big problem for me is that I haven’t found a way to do both at the same time: to the extent that they are separate activities, they are in conflict with each other.

[the list] The National Endowment for the Arts, Los Angeles County Arts Commission, UCLA Center for Community Partnership, Southwest Oral History Association, MAP Fund, a program of Creative Capital supported by the Doris Duke Charitable Foundation and the Rockefeller Foundation. Music scores commissioned by Meet The Composer’s Commissioning Music/USA program, which is made possible by generous support from the Mary Flagler Cary Charitable Trust, the Ford Foundation, the Francis Goelet Charitable Lead Trusts, New York City Department of Cultural Affairs, New York State Council on the Arts, the William and Flora Hewlett Foundation, and the Helen F. Whitaker Fund.

UCIRA: You were also recently invited to participate in United States Artists projects. Can you talk a bit about your experience with using this mechanism to fund your work in comparison to some of the others listed above?

Dan: I came to US Artists Project Site through my collaborator, Dan Hurlin, who is a US Artists fellow. USA invited Dan to participate in the site, and he chose to raise funds for Who’s Hungry. The system was (is?) still in its beta phase, and was not particularly user-friendly. It took a long time to figure out how to set it up and operate it. Dan and I chose to raise a small amount ($3,000). Somewhere along the way, we both were given the impression that this is what was expected of us. Now, of course, I wish we had set a higher goal, as the $3,000 was easily reached.

Interestingly, my participation in the site attracted a lot of attention, way out of proportion to the amount we raised. It seemed to be very well publicized; USA made excellent use of social media networking in this regard.

One really good thing about this site and others like it is that it is as much about developing and maintaining relationships around the work as it is about fundraising. The maintenance part of that equation takes a good deal of work, ongoing, and it’s easy (in my case, for instance) to start out keeping those connections warm and then over the subsequent weeks and months allowing them to cool.

In a way, these kinds of sites are a logical extension of the ‘personal appeal’ letter that many artists send out in November/December of most years. I think it’s a great way of asking yourself what the value of your work is to the communities it serves. I also think that donor fatigue is no longer the exclusive province of the rich. As Kickstarter-type sites have proliferated, they have democratized the field, so that anyone can easily and legitimately ask for funding at any time. And anyone can be asked – and more and more often are.

UCIRA: After looking over the campaigns launched on various microfunding sites, it seems like artists are asked to present (even sell) their work very differently than they would to secure other sorts of funding. Do you agree? How do you feel about asking for money in this way?

Dan: I don’t think so. Like I say, it’s an extension of an existing practice that artists have been doing for a long time. Personally, I tend to be very circumspect when it comes to this kind of direct fundraising. I want to communicate to individual donors that I only ask when I feel it’s very important, and when their contribution will mean the most. So, I feel perfectly fine about asking for support, because I will only do so when I truly believe the project deserves it – and can articulate why it does.

Jeff: My work is in a space between technology and art that a lot of traditional grant institutions usually don’t respond very well to. I’ve only applied for a few traditional art grants in my lifetime, so I’m not sure I’m an expert, but I *always* feel like I am selling myself. I actually think it’s worse in traditional arts grants because you have to conform to the taste of a particular panel of judges. For instance, Rhizome and Turbulence are very different than NYFA and NYSCA, which means that you have to frame the same work differently. At least on the Internet you can be pretty sure that your work is going to appeal to someone out there. Although I toned down the nerdiness a bit in my Kickstarter campaign, I was more or less myself and just described the project as I would to a friend. It’s just a matter of finding the right community.

UCIRA: Another characteristic of these kinds of campaigns is an attempt, at least, at relationship-building with donors who give at higher levels through the promise of continued communication about the project, or some kind of promotional schwag, from totebags to signed editions. What was your experience with this element of the process ?Did it (as some say it is supposed to do) build a better ‘fan base’, audience or community for your project?

Dan: It was definitely fun to imagine what might be a ‘reward’ for funders at different levels. In the end, not so fun to follow through! But people responded to the premiums. Again, I think there is intrinsic value in providing swag for people. It’s another way to brand yourself, and I don’t mean that cynically…. I am [also] still playing catch-up on this! I’m not proud of this. I’m interested to know if other artists find themselves in the same boat. It may be a generational thing, in part, as well. I’m still a neophyte when it comes to social media networking, and I find it difficult to be consistent.

Jeff: I didn’t much care for this element of Kickstarter. I am a very slow worker, and I didn’t want to feel like the donors were waiting by their computers for status updates. And as I mentioned above, the prizes nearly broke the bank. It was [also] a bad fit for me because I wasn’t making anything physical. I had to go out of my way to get t-shirts and USB drives printed and all that. It did build a kind of fan base, though. I actually ended up getting a completely separate grant from someone at the UN who found out about the project through Kickstarter for twice as much as my original campaign.

UCIRA: I think that the situation of the artist working in the Academy is quite different from those who make their living through the market. How does the academic focus on research and practice fit with the hybrid nature of mechanisms like USA projects or Kickstarter? Is there a qualitative difference in finding one’s funding in this way as opposed to being funded through a non-profit or with government support?

Dan: I don’t find a huge qualitative difference in these different funding mechanisms. Frankly, I try to keep my work in the university and my work in the non-profit sector separate as much as possible. In general, I don’t feel it enhances my image as an independent artist to be associated with a university. If anything, university funding is often the most difficult to deal with, as it is generally more restricted than foundation or government grants, and it is extremely difficult to pay out expenses through our department.

UCIRA: One argument that has been made about this kind of group arts funding is that what will emerge at the end is a watered-down version of culture – that with ‘the masses’ deciding who gets funding and who doesn’t, more experimental and risk-taking work will go undone. Thoughts?

Thuy: That argument is understandable and one that was considered very seriously during the research and development phase of USA Projects. In creating a micro-philanthropy platform, it was critical for us that caliber of artistic quality remained consistently high while being accessible to people everywhere. We believe that the vetting process ensures this level of quality and excellence. It takes the guesswork out of crowdfunding.

This platform allows artists the flexibility to do experimental and risky-taking work because they are not using traditional fundraising sources. New York filmmaker Thomas Allen Harris raised $11,500 to complete his documentary connecting the Black civil rights movement with the gay and lesbian marriage equality movement. Los Angeles furniture designer Tanya Aguiñiga raised more than $8,000 to launch Artists Helping Artisans, a collaboration with artisans in Chiapas, Mexico, whose craft traditions are at risk. Jim Woodring, a pen and ink cartoonist, manufactured a giant seven-foot-long steel dip pen and penholder. Jim mastered the mechanics of operating the pen—which weighs 30 pounds—at public demonstrations in Seattle.

Online fundraising also leverages the immediacy of the Internet. Zoe Strauss, a photographer in Philadelphia, raised over $5,000 for On the Beach, a photo series documenting the people and places affected by the Gulf Oil Spill. Zoe raised the money in just 4 days! Had she proposed funding for this project from an organization, it would have most likely taken much longer.

With USA Projects, artists can also raise money for different stages of a project. This provides valuable assistance at the naissance period. Success is more than just getting funding–it also means seeing the development of fresh ideas. Mickael Broth, a visual artist and writer, is currently seeking funding for the development phase of a print memoir about his time incarcerated for graffiti vandalism. It’s a story of art, graffiti, the legal system, and about taking risks in the pursuit of making art.

Andrew Okpeaha MacLean’sOn the Ice is the first feature-length fiction film made in Alaska by an Iñupiaq writer/director with an entirely Inuit cast. Andrew successfully raised funds to help get the film to the Sundance Film Festival, where it premiered this year. He was able to bring the actors down from Alaska, pay for food and lodging, and hire a publicist. Additionally, the Rasmuson Foundation generously matched the funds he raised.

Dan: I don’t think that this kind of funding replaces, in theory or practice, the need for traditional funding in the arts. And it doesn’t seem to me that the stakes are high enough to effect culture with a capital ‘C’. I think the benefits of engagement outweigh the possible risks. However, I feel much more ambivalent about things like the A.W.A.R.D. show, in which live audiences decide who among a small group of artist who perform that evening get $10,000 of somebody else’s money. That kind of competition sets up winners and losers and does not, I think, build community.

Jeff: I think this is a kind of zero-sum view. There was this idea that was brought up on Facebook that institutions (I like to imagine personified as a moustachioed fat guy in a top hat) would look at Kickstarter and feel better about cutting his contributions to the arts, but this is a made-up narrative. I haven’t come across any proof that crowdfunding sites are contributing in any way to the decrease of institutional grant giving. And even if they were, it completely ignores the intention of the people contributing to crowdsourcing sites. Rather than wasting energy blaming well-meaning people for contributing money to art projects that inspire them, wouldn’t it be better to think about how individuals and institutions can work together to find some model that allows both kinds of giving?

I’d also take issue with the fact that “the masses” never support experimental and risky ideas, or that grant-giving institutions always do. At the risk of just sounding like a naive/bitter loser, I’ve had projects turned down by art institutions and been personally informed that it was for insurance reasons (a ParkingDay idea involving launching people into the air), because it wasn’t appropriate for children (Laborers of Love – a crowdsourced porn creation site). I’ve had others that I think are strong ideas, but that I haven’t bothered to submit because they are legally dubious (DeleteCity – saves deleted YouTube videos), or it would be offensive to donors/board members (Praying@Home/GodBlock – critical of religion). Kickstarter wouldn’t necessarily be constrained by these issues.

UCIRA: I am also wondering what the proliferation of this kind of funding model might mean when we think about issues of sustainability. At UCIRA, we modeled our grants partially on what Creative Capital has tried to do – thinking through what our particular set of artists might need in order to support the life of their projects. We were tired of just writing checks and sending people on their way. Not that I think we have come up with an answer, but I’m interested to hear your thoughts on question of arts funding and sustainability.

Thuy: Unfortunately, government arts funding will always have its limitations with budget deficits. At United States Artists, a robust organization is envisioned with a 100+ year horizon, providing artists’ significant resources to do their work. To meet this goal, USA hopes to permanently endow the USA Fellows program with $50 million. To date, $9 million has been raised toward the goal.

Dan: I think that what UCIRA and Creative Capital are up to addresses the issue of sustainability much more than social media micro-funding. I see the latter as one very small – and very positive -piece of the puzzle, but not one that can or should be relied on in an ongoing way. I think that the model of combining non-monetary support with funding does a much better job.

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UC State of the Arts/SOTA is an irregular publication dedicated to documenting and fostering communication in the arts across the University of California system of 10 campuses. SOTA is published by the University of California Institute for Research in the Arts/UCIRA. Past themes have included different perspectives on how value is perceived within the arts at the University of California, what counts as artistic research, and have addressed the ways in which the California budget crisis is effecting arts departments within the system and the myriad of critical, pedagogical and creative responses coming from those departments to the budget, university restructuring and privatization trends. We have an ongoing interest in these themes as well as general content about news and developments within the UC arts and the work of the UCIRA.

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